Podcast appearances and mentions of Marion Brown

For Episode 81 of STARK REALITY, Host James Dier aka DJ $mall ¢hange rolls the tattered red carpet out to New Orleans to check back in with GEOFFREY WILSON aka DJ REVEREND ROBERT SINEWAVE, Part 2. Since our last conversation several years ago (hard to believe, time flies), Geoffrey has escaped from White Wakanda (aka Portland) and moved to NOLA. We bounce around talking about a number of things happening politically plus music and cocktail sidebars as to be expected. Interview recorded November 3rd, 2025. If you know Geoffrey, you’d know that he’s a good friend, a good ally, and a staunch believer in equality, visibility, and diversity in the hospitality industry. He’s also a talented and creative bartender. Having spent close to a decade working in the International House Hotel in New Orleans, Ocotillo in Phoenix, and Multnomah Whiskey Library in Portland, OR, Geoffrey has honed his skill and earned the honor of Best Bartender in Chicago in 2008 and Phoenix in 2014. In addition to this, he's made fancy cocktail ice in Portland, has an extensive record collection (duh) and now semi-retired in New Orleans, although he does keep busy consulting and working on various projects for folks. If you find yourself in the area, be sure to follow his Instagram @rev_robertsinewave and join in the fun. Ask him about his purple Chucks. This time around he's going deep into spirit jazz / avant vibes with some classics and deep cuts from folks like Alice Coltrane, Pharoah Sanders, Albert Ayler, Horace Tapscott, Art Ensemble of Chicago, Joe Henderson, Marion Brown, etc etc. of proper head sounds. Go to Episode 82 of STARK REALITY to hear this sensational 2 1/2 + hour master mix - Enjoy! To hear Reverend Robert's first Stark Reality Interview with Host James Dier aka DJ $mall ¢hange, recorded in 2020, go to Episode 11 of STARK REALITY. And since last time our conversation fell around 4/20, that inspired EPISODE 12 of STARK REALITY, a weed-themed exclusive rare groove, funk and soul playlist. For all of Host James Dier aka DJ $mall ¢hange's in-depth interviews and exclusive guest playlists, Subscribe to both STARK REALITY and STARK REALITY PLAYLISTS on Apple Podcasts, Mixcloud or live & direct on uptownradio.net / jasoncharles.net Podcast Network Music Channel's STARK REALITY Series Page See omnystudio.com/listener for privacy information.

For Episode 82 of STARK REALITY PLAYLISTS, Host James Dier aka DJ $mall ¢hange re-rolls out the tattered red carpet for another exclusive mix from GEOFFREY WILSON aka DJ REVEREND ROBERT SINEWAVE. This time around, live & direct from New Orleans, Geoffrey goes deep into spirit jazz and avant vibes with some classics and deep cuts from folks like Alice Coltrane, Pharoah Sanders, Albert Ayler, Horace Tapscott, Art Ensemble of Chicago, Joe Henderson, Marion Brown, etc etc - 2 1/2 hours of proper head soundz. Having spent close to a decade working in the International House Hotel in New Orleans, Ocotillo in Phoenix, and Multnomah Whiskey Library in Portland, OR, Geoffrey has honed his skill and earned the honor of Best Bartender in Chicago in 2008 and Phoenix in 2014. In addition to this, he's made fancy cocktail ice in Portland, has an extensive record collection (duh) and now semi-retired in New Orleans, although he does keep busy consulting and working on various projects for folks. If you find yourself in the area, be sure to follow his Instagram @rev_robertsinewave and join in the fun. Ask him about his purple Chucks. To hear the all new STARK REALITY Interview with Jim and Rev Robert, recorded November 3rd, 2025, go to Episode 81 of STARK REALITY, where they go deep into a number of things happening politically plus music and cocktail sidebars as to be expected. Since our last conversation several years ago (hard to believe, time flies) which you can hear on Episode 10 of STARK REALITY with Host James Dier aka DJ $mall ¢hange, Geoffrey has escaped from White Wakanda (aka Portland) and moved to NOLA. Go to Episode 11 of STARK REALITY to hear Geoffrey's first exclusive playlist for us, when the conversation fell around 4/20 and inspired an all weed-flavored mix including deep funk, classic rock, soul, jazz, world, reggae and '80s and '90s hip-hop, along with a few surprises... For all of Host James Dier aka DJ $mall ¢hange's in-depth interviews and exclusive guest playlists, Subscribe to both STARK REALITY and STARK REALITY PLAYLISTS on Apple Podcasts, Mixcloud or live & direct on uptownradio.net / jasoncharles.net Podcast Network Music Channel's STARK REALITY Series Page See omnystudio.com/listener for privacy information.

Listen to an interview with Pulitzer Prize-winning composer Anthony Davis. He'll appear at the University of Indianapolis for a series of free events on February 10 and 11.  The New York Times has called Davis one of the “greatest living composers.” Davis has received attention worldwide for his orchestral and chamber compositions, but he's best known for his work in opera, including his groundbreaking 1986 production X, the Life and Times of Malcolm X. In 2020, Davis received the Pulitzer Prize in music for his opera The Central Park Five.  Prior to achieving notoriety as a composer, Davis had a prolific career as a jazz pianist, recording with prominent jazz artists including Marion Brown, Oliver Lake, Leroy Jenkins, David Murray, Wadada Leo Smith, and more.

Rejoice | Rev. Marion Brown & Rev. Jarrett Wallace | Chapel Roswell by Chapel Roswell

ORNETTE COLEMAN “THE SHAPE OF JAZZ TO COME” Hollywood, CA, May 22, 1959Lonely womanDon Cherry (cnt) Ornette Coleman (as) Charlie Haden (b) Billy Higgins (d) JOHN COLTRANE “ASCENSION” Englewood Cliffs, N.J., June 28, 1965Ascension (Edition I – Part 1)Freddie Hubbard, Dewey Johnson (tp) John Tchicai, Marion Brown (as) John Coltrane, Pharoah Sanders, Archie Shepp (ts) McCoy Tyner (p) Jimmy Garrison, Art Davis (b) Elvin Jones (d) CECIL TAYLOR “UNIT STRUCTURE” Englewood Cliffs, N.J., May 19, 1966StepsEddie Gale (tp-1) Jimmy Lyons (as-2) Makanda Ken McIntyre (as-3,oboe-4,b-cl-5) Cecil Taylor (p,bells-4) Henry Grimes, Alan Silva (b) Andrew Cyrille (d) ALBERT AYLER TRIO “SPIRITUAL UNITY” New York, July 10, 1964Ghosts (first variation)Albert Ayler (ts) Gary Peacock (b) Sunny Murray (d) PETER BROTZMANN OCTET “MACHINE GUN” Bremen, May, 1968Music for Han Bennink IPeter Brotzmann (ts,bar) Willem Breuker (ts,b-cl) Evan Parker (ts) Fred Van Hove (p) Peter Kowald, Buschi Niebergall (b) Han Bennink (d) Sven-Ake Johansson (d,perc) Continue reading Puro Jazz 16 de diciembre, 2024 at PuroJazz.

ORNETTE COLEMAN “THE SHAPE OF JAZZ TO COME” Hollywood, CA, May 22, 1959Lonely womanDon Cherry (cnt) Ornette Coleman (as) Charlie Haden (b) Billy Higgins (d) JOHN COLTRANE “ASCENSION” Englewood Cliffs, N.J., June 28, 1965Ascension (Edition I – Part 1)Freddie Hubbard, Dewey Johnson (tp) John Tchicai, Marion Brown (as) John Coltrane, Pharoah Sanders, Archie Shepp (ts) McCoy Tyner (p) Jimmy Garrison, Art Davis (b) Elvin Jones (d) CECIL TAYLOR “UNIT STRUCTURE” Englewood Cliffs, N.J., May 19, 1966StepsEddie Gale (tp-1) Jimmy Lyons (as-2) Makanda Ken McIntyre (as-3,oboe-4,b-cl-5) Cecil Taylor (p,bells-4) Henry Grimes, Alan Silva (b) Andrew Cyrille (d) ALBERT AYLER TRIO “SPIRITUAL UNITY” New York, July 10, 1964Ghosts (first variation)Albert Ayler (ts) Gary Peacock (b) Sunny Murray (d) PETER BROTZMANN OCTET “MACHINE GUN” Bremen, May, 1968Music for Han Bennink IPeter Brotzmann (ts,bar) Willem Breuker (ts,b-cl) Evan Parker (ts) Fred Van Hove (p) Peter Kowald, Buschi Niebergall (b) Han Bennink (d) Sven-Ake Johansson (d,perc) Continue reading Puro Jazz 16 de diciembre, 2024 at PuroJazz.

Record | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Rewind | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Brother Marion | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Ghost Light 2.0 | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Free The Opressed | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Side Effects | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Head Trash | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

A Setting, A Problem, A Miracle And An Aftermath | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

The Opening Ceremony | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

The boys warned you things were going to get eclectic, but they may have outdone themselves this time, as the selections run the gamut from a jazz trio reimagining Bach preludes to a cutting edge big band arranger/composer tipping the cap to Cab Calloway to a night it the Georgia woods and is what we're hearing even music?   Plus, a thoughtful look at what happens when one of the better known ensembles of the eighties loses a pivotal member and expands its horizons past its signature format.  Adam Birnbaum – PRELUDES; Marion Brown – AFTERNOON OF A GEORGIA FAUN; WSQ  - METAMORPHOSIS; Darcy James Argue – DYNAMIC MAXIMUM TENSION.  During the pop matters segment strap yourself in for a quick trip to Japan.

Superlatives | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Amina Claudine Myers was one of the earliest members of the AACM, and if you're listening to this podcast, I'm pretty sure you know what the AACM is, but just in case you don't, the Association for the Advancement of Creative Musicians is an organization formed by Muhal Richard Abrams, Roscoe Mitchell and a few other musicians in Chicago in the mid-1960s. A tremendous number of the most important avant-garde jazz musicians of the mid to late 20th century and the 21st century have come out of the AACM, including Anthony Braxton, Henry Threadgill, Fred Anderson, the Art Ensemble of Chicago, Wadada Leo Smith, Matana Roberts, Nicole Mitchell, Tomeka Reid, and Amina Claudine Myers. There's a tremendous book by trombonist and composer George Lewis, called A Power Stronger Than Itself, that's the best possible introduction to the group. You should absolutely read that if you're a fan of any of the musicians I just named.Now, all the founders and early members of the AACM worked together, supporting each other, and moving the music forward in large part by composing and performing original work. What's interesting — and this is something we talk about in this conversation — is that Amina Claudine Myers' early albums included some original music, but they also included interpretations of other people's compositions, specifically Marion Brown and Bessie Smith. But she always paired that music up with pieces of her own that demonstrated a really fascinating compositional voice that was a combination of jazz, gospel, blues, and classical music. She took all her influences and early training and combined them into something that sounded like nobody else out there, and was incredibly powerful.In addition to making her own records, she's been a part of albums by Lester Bowie, Henry Threadgill, Muhal Richard Abrams, Anthony Braxton, Kalaparusha Maurice McIntyre, Bill Laswell, and many other people. Her latest release is a collection of duos with Wadada Leo Smith, the first time they've recorded together since 1969, and their first collaboration as leaders.I'm really glad I had the chance to interview her. We talked about a lot of things — the AACM, the role of spirituality in music and the way the term spiritual jazz is used to gatekeep certain things, her work with all the artists I just mentioned, her upbringing in Arkansas and Texas and how it influenced her writing... this is a really wide-ranging conversation that I think will be really interesting for you to hear. I thank you as always for listening.

Club Rules | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

The Sabbath Conflict | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Bearing Fruit | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

The Wolf, the Sheep, and the Shepherd | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Facing Evangelism | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Ghost Stories | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Easter | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Palm Sunday 2024 | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

An Interview With Sandy | Rev. Marion Brown and Sandy Holiday | Chapel Roswell by Chapel Roswell

Stones and Scales | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Unclean Spirits | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

New Year, New You | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

The Gift of Transformation | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

The Gift of the Unknown | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Rev. Marion Brown preaches from Mark 13.

The Gift of the Unknown | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Building Blocks | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Monsters Under The Bed | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Cards & Rules | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Linguistics, Translation & Word of God | Rev. Marion Brown feat. Dave Eberhard | Chapel Roswell by Chapel Roswell

That's Not Fair | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

School Supplies | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Get Out Of The Boat | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Port Adventure: Dominican Republic | Rev. Marion Brown feat. Abigail Bridges | Chapel Roswell by Chapel Roswell

Industry veteran, musician, composer, producer and engineer Mark Bingham has had a long and decidedly eclectic career in music. We sat down to talk some jazz - specifically Archie Shepp and his 1965 release 'Fire Music' - and may have finally cracked the code to Rob's ambivalence to the genre. REALLY fun conversation! Songs discussed in this episode: Hambone (recorded live at the Village Gate March 28, 1965) - Archie Shepp; William Blake In Bakersfield - Mark Bingham; Doctor My Eyes - Jackson Brown; The First Girl I Loved - The Incredible String Band; Dream A Little Dream Of Me - Ella Fitzgerald, Louis Armstrong; Composition No. 122 - Anthony Braxton; The Way I Walk - The Cramps; Peripetie - Arnold Schoenberg; Hambone, Los Olvidados - Archie Shepp; I Can See For Miles - Petra Haden; Malcolm, Malcolm - Semper Malcolm - Archie Shepp; On The Corner - Miles Davis; Prelude To A Kiss - Duke Ellington; Prelude To A Kiss - Archie Shepp; The Girl From Ipanema - Stan Getz (featuring Astrud Gilberto); The Girl From Ipanema - Mike Tyson; The Girl From Ipanema - Archie Shepp; Shiny Happy People - R.E.M.; Insect Soup - Mark Bingham

Anchored | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Let's Go Fishing | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

The Places You'll Go | Rev. Marion Brown | Chapel Roswell by Chapel Roswell

Rev. Marion Brown preaches from Matthew.

In previous episodes, we've talked about what people commonly understand as fusion, which drummer Lenny White, who appeared in episode two of this series, prefers to call jazz-rock. That's the version that starts with Miles Davis's Bitches Brew and Tony Williams' Lifetime and quickly branches out with Mahavishnu Orchestra and Return To Forever and Weather Report and on and on. But as we've continued the discussion, we've expanded the scope of inquiry to include adventurous funk and R&B fusion, which includes everything from P-Funk and Earth, Wind & Fire and the Ohio Players — and wow, do the Ohio Players deserve a place in the fusion conversation that they are very rarely granted — to Donald Byrd and Freddie Hubbard and especially George Duke.Adam Rudolph is a fusion artist in about as broad a sense as you can imagine. He's been a percussionist for close to 50 years, and should be much better known than he is. He's been around since the early '70s and has worked with everyone: Yusef Lateef, Fred Anderson, Don Cherry, Roscoe Mitchell, Pharoah Sanders, Sam Rivers, Wadada Leo Smith, Herbie Hancock, Maulawi, Foday Musa Suso, Hassan Hakmoun, Jon Hassell… he's part of the Bill Laswell company of players, too, so he's on a zillion records through that connection. Plus he leads two main groups of his own, Moving Pictures and the Go! Organic Orchestra, which have made many, many albums and even crossed over with each other a time or two.Adam and I had a really fascinating conversation over the course of two phone calls. The impetus was Symphonic Tone Poem For Brother Yusef, a collaboration between him and reeds player Bennie Maupin that's just been released. Bennie Maupin of course is a legend on his own — he played on Miles Davis's Bitches Brew and On The Corner, he was a member of Marion Brown's group in the 1960s, he was in Mwandishi and the Headhunters with Herbie Hancock, he played with Woody Shaw, and his own album from 1974, The Jewel In The Lotus, is an absolutely brilliant record that blends spiritual jazz with almost New Age ambient music. There's really no other album like it; if you've never heard it, it's a must-hear. So obviously Rudolph and I talk about Maupin, whom he's worked with off and on for decades, but we also talk about Laswell and about Lateef and about the whole idea of world music and fusion-as-creative-mindset that I've been discussing with every artist I've interviewed for the podcast this year. We talk a lot about the philosophy that goes into bringing together musicians from all sorts of traditions, from all over the globe, and finding ways to make their ideas flow together. That's what he does with Go! Organic Orchestra, the membership of which is completely open and the music of which is created through spontaneous conduction. So he was really the ideal person to talk about all this stuff with. I think you'll come away from this episode with a lot to think about. I know I did. And I hope you enjoy listening to it. All the music you'll hear, by the way, comes from Symphonic Tone Poem For Brother Yusef. 

This week: Barry Guy & Now Orchestra; Dan mask ceremony; Anyango (Luo music);  Etaab; Anti-Choc; Les Bantous de la Capitale; Mark Dresser Quintet; Orchestra Massako; Booker Little; Jackie McLean; Abdel Halim Hafez; John Yao; Marion Brown;  much more... Always FREE of charge to listen to the radio program on WRFI, or stream, download, and subscribe to the podcast: via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/16068975/Conference-of-the-Birdshttps://spinitron.com/WRFI/pl/16068975/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  We will continue to update playlists at confbirds.blogspot.com 24-48 hours of the program's posting  online. Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com

As you know if you've been listening this season, we have a single subject we're going to be exploring across ten episodes, and that subject is fusion. Fusion means much more, I think, than just the music that most people think of when they hear the word. I'm not talking exclusively about the big-name bands from the 1970s: the Mahavishnu Orchestra, Return to Forever, and Weather Report. Those groups, and the Miles Davis bands from 1969 to 1975, and many other less immediately recognizable groups, all did the classic fusion thing, playing extremely complex music that blurred the lines between progressive rock and jazz. We talked about those acts in the second and third episodes this season, when I interviewed drummer Lenny White and trumpeter Randy Brecker, both of whom were around then and were actively participating in making that music.If you think of fusion as a mindset, though, rather than a style of music, the discussion gets a lot more interesting. And that's really how I prefer to think about it. It's not just a specific narrow slice of music, it's a way you approach any kind of music you make. KRS-One said rapping is something you do, hip-hop is something you live. And that's kind of close to what I'm talking about here, conceptually speaking. Fusion can be a style of music, or it can be a way you approach the making of music. And the people who fall into the latter category are the ones who I find to be the most interesting, and the ones who are more likely to have careers where almost every record they play on is at least worth hearing, worth giving a chance. You may not like all of it. But they're creative enough that they've earned the benefit of the doubt.Brandon Ross is one of those guys. He's been on a hell of an artistic journey over the course of the last forty-some years. His first recording was on an Archie Shepp album from 1975, There's a Trumpet in My Soul. He worked with violinist Leroy Jenkins. He worked with saxophonists Marion Brown and Oliver Lake. He worked with Henry Threadgill for something like ten years, in multiple bands or one evolving band. He worked with Cassandra Wilson on her breakout album, Blue Light Til Dawn, and the follow-up, New Moon Daughter. He's made albums under his own name. The reason a lot of people probably know his name right now is he's the guitar player in Harriet Tubman, with bassist Melvin Gibbs, who's been on this podcast before, and drummer JT Lewis.And now here's the really interesting part – Brandon Ross has an album coming out a little later this year on my label, Burning Ambulance Music. He's got a new group, see, called Breath Of Air, which is a trio featuring violinist Charles Burnham and drummer Warren Benbow. Something I learned in this interview, by the way, is that Brandon has done the guitar-violin thing several times, with Leroy Jenkins and also with Terry Jenoure, a very interesting violin player who isn't nearly as well known as she ought to be. When I was researching Brandon to come up with questions for this interview, I learned about her and now I'm gonna be diving into her catalog, and I suggest you do the same. Some of her music is on streaming services; she released a 3CD set called Portal last year that's fantastic. Anyway, Breath Of Air has a self-titled debut, most of which was recorded live in February 2020, right before the pandemic started and live music went away, and like I said it'll be out a little bit later this year.In the meantime, enjoy this conversation between me and Brandon Ross. We talk about his work with Henry Threadgill, about his work with Cassandra Wilson, about Archie Shepp and Oliver Lake and Marion Brown, about Harriet Tubman, about the sort of No Wave punk-funk jazz scene of the late '70s and early '80s that included Ornette Coleman's Prime Time and Ronald Shannon Jackson's Decoding Society and all the other guitarists that came out of that scene, including Michael Gregory Jackson and Kelvyn Bell and Jean-Paul Bourelly and James "Blood" Ulmer and Vernon Reid… we also talk about his particular approach to the guitar and to sound. There's a lot to learn and a lot to think about in the hour or so of conversation you're about to hear. I hope you enjoy listening to it.Music in this episode:Breath Of Air, “No One On Earth Can See You Anymore” (from Breath Of Air)Henry Threadgill, “Little Pocket Size Demons” (from Too Much Sugar For A Dime)Harriet Tubman, “Farther Unknown” (from The Terror End Of Beauty)